Mark Chesnutt balances funny and disturbing with the of-its-time 1992 hit " Bubba Shot the Jukebox ". It's a Dennis Linde composition, so we can expect a tongue-in-cheek tone, but how does this one mix peril with absurdity to stay just on this side of too far?
We finally get to a classic from Clint Black's era-defining (and we're not exaggerating here) 1989 debut album, its title track no less: " Killin' Time ". But we're not just filling 24 minutes: What are the puzzle pieces that make this song cross that line from great to classic, and why do they fit together so naturally?
Mary Chapin Carpenter's ode to her favorite Bethesda haunt is one of the most infectious country songs of the early 90s. But what exactly made " Down at the Twist and Shout " strike such a strong Cajun chord, and what exactly is she saying anyway?
David Lee Murphy shows us what it was like in 1995 to hang out with the " Party Crowd "... or does he? What's going on below the surface of this honky-tonk celebration, and what do "Neon Moon" and "The Thunder Rolls" have to do with it? I bet you thought this one was straightforward, didn't you? Listen to see if you agree with Melton that there's something deeper here.
Dwight Yoakam's influences are readily apparent in this early neotraditionalist cover of Johnny Horton's " Honky Tonk Man ". Hank, Cash, Elvis, and of course Buck Owens are all in there, but what thematic material has Yoakam also imported from the mid-20th century?
Tanya Tucker reminds us that there is more than one point of view to a country cliche, beating Sugarland to the punch while doing so, in her early 90s hit " Soon ". We didn't just start liking cheating songs or anything, but what is it about the melody and harmony on this particular one that leaves us feeling so unsettled?
Garth Brooks finds the best kind of disillusionment at his high school homecoming in his 1990 hit "Unanswered Prayers". Nostalgia reigns in this early example of Brooks's sweet spot, but what is it about his brand of neotradionalist country music that keeps this song so gloriously local as we wistfully revisit it all these years later?
Shania Twain takes us back to the diva days of the late 90s with pop-country powerhouse, 1997's " From This Moment On ". Of course, we're still suckers for the soaring vocals and dramatic key-changes, but is there something more that keeps this nuptial classic in our collective consciousness?
Billy Dean takes us into the wild west of his childhood backyard in his signature hit, " Billy the Kid ". Rodeo-esque dark, western blues permeates the chorus, but in what sense(s) does the tone shift in the choruses? And what exactly is so relatable about Dean's specific take on nostalgia in this song?
We take our first walk with Eddie Arnold's brand of early 80s R&B-inspired country pop with his 1981 hit " Step by Step ". But what is it that gives this song its particular catchy groove, and how does that groove relate to the idea of taking it slow?
The influence of Garth Brooks and some hallmarks of country piano take center stage in Kenny Chesney's 1999 #1 hit " You Had Me from Hello ". Some of the same trends we've previously explored about country music in 1999 show up here as well, but how does Chesney's particular brand of macho mojo enrich in this seemingly straightforward love song?
Brad Paisley applies his self-consciously retro schtick to the concept of grace in a modern family, in his late-1999 breakthrough hit, " He Didn't Have to Be ". But what exactly is the nature of his throwback vibe? What's surprising about it, and what about his neo-traditionalist-influenced vocals works so well with this song's whimsical melody? "When a single mom goes out on a date with..."...
Alabama shows us how country music approaches Conway Twitty's favorite subject, while continuing to meld the 70s & 80s influences that formed their unique wheelhouse, on their 1982 hit " Take Me Down ". But how does this song's harmonic complexity particularly fit the particular subject matter?
Melton tackles Steve Wariner's 1998 ACM & CMA Song of the Year, " Holes in the Floor of Heaven ," a cut remarkable for its similarity to recent selection, "Two Teardrops". But what holes might there be in this song so acclaimed, and what points of departure from its said close cousin?
Brooks & Dunn get us up from our tables and onto the dance floor with their quintessential neotraditional honky-tonker, " Boot Scootin' Boogie ". But what is it about this cut that not only made us start dancing in 1992 but has also kept us dancing all these decades later?
Vince Gill teaches us how to milk a great hook for all it's worth in his 1997 hit " A Little More Love ". But what specific take does this hook have on the country trope of almost breaking up? And what on earth is Melton talking about with this idea of "bluegrass soul"?
Ronnie Milsap does what he does on 1982's " He Got You ". You knew it was going to be 50s/60s R&B-infused 80s country, but what other genre shows up, perhaps unexpectedly, with all four on the floor?
The Oak Ridge Boys remind country music what it sounds like to be lighthearted and fun with their monster 1981 hit "Elvira". Everybody remembers Richard Sterbin's rafter-rattling bass solo, but what context does it take for something that unique to fit perfectly into? In other words, why are our hearts on fire for this classic country song?
Steve Wariner puts on a clinic in tasteful, well-crafted sentimentally in one of his last hits, 1999's " Two Teardrops ". But how exactly is he able to keep it mellow without becoming melodramatic?
In this episode, we get locked away inside of some old Alabama, in their 1981 hit " Love in the First Degree ". Nowadays it all just sounds like old school country, but what specific things things were happening more broadly in country music at the time that Alabama are guilty of?
Collin Raye makes us still feel like we're in 1998 with his upbeat pop country hit " I Can Still Feel You ". We've apostrophized lost love before, but what perhaps surprising left turn does this particular version take?
The restrained pendulum from the last episode swings fully the other way as we examine Joe Diffie's audacious 1994 hit, " Third Rock from the Sun ". Diffie's vocals take center stage in another E blues romp, but what are the links in this chain that Melton thinks do n' t quite hold together?
Vince Gill's 1992 CMA Song of the Year " Look at Us ". What a nice, straightforward love song. ...Or is it? Might there be some sub-surface complexity in this one that invites us look at it a little more deeply? Tune in and find out.
Syncopation moves to the center of the ring, as we saddle up for a youthful and whimsical ride through Faith Hill's 1993 debut megahit, Wild One . But what particular twists will we find on this otherwise well trodden course?
Everybody in town knows Foster & Lloyd are doing their best Elvis impression on 1987's Crazy Over You , but what early 90s country song finds its boots firmly in this song's footsteps?
Melton has more questions than answers as he explores the ambiguous tone of David Frizzell's 1982 hit " I'm Gonna Hire a Wino to Decorate Our Home ". Who's mocking whom?
Melton tackles an early example of The Judds' unique approach to 80s country in " Girls Night Out ", but does this song hold up as well as some of its contemporaries?
Melton puts his best effort toward getting to the bottom of what makes Alan Jackson's 1995/1996 hit " I'll Try " tick. It comes down to three adjectives: two of which are part of the patented Alan Jackson formula, but the third of which may surprise you. Tune in to see if you agree or disagree.
The rhythm section yields to a three-way dueling electric guitar showcase, on Steve Wariner's fun 1987 hit, " Lynda ". Listen to the guitars, then listen to Melton break it all down. But sorry folks, calls to Wonder Woman have not been returned.
Melton drives 25 miles away from his responsibilities, upshifts, and revels in the motion-filled energy and contentment of Reba McEntire's 1996/7 " I'd Rather Ride Around with You ". We also have a little fun diagramming sentences.
